Constantine P. Cavafy Quotes (1863-1933)

“I look before me at my lighted candles, I don’t want to turn around and see with horror How quickly the dark line is lengthening, How quickly the candles multiply that have been put out.”

“Of course many people will have much to say. We should listen. But we won't be deceived by words such as Indispensable, Unique, and Great. Someone else indispensable and unique and great can always be found at a moment's notice.”

“Nero wasn’t worried at all when he heard the utterance of the Delphic Oracle: “Beware the age of seventy-three.” Plenty of time to enjoy himself still. He’s thirty. The deadline the god has given him is quite enough to cope with future dangers. … And in Spain Galba secretly musters and drills his army — Galba, the old man in his seventy-third year.”

“Cavafy has three principal concerns: love, art, and politics in the original Greek sense. … As a witness, Cavafy is exceptionally honest. He neither bowdlerizes nor glamorizes nor giggles. The erotic world he depicts is one of casual pickups and short-lived affairs. Love, there, is rarely more than physical passion, and when tenderer emotions exist, they are almost always one-sided. At the same time, he refuses to pretend that his memories of sensual pleasure are unhappy or spoiled by feelings of guilt.”

“From his biographers we know how cautious and reserved Cavafy was, how reluctant to talk about himself. Although he frequented cafes and saw many people, his loneliness remained unalleviated. This poem is a rather unusual confession for the poet, especially since it comes so early in his life: Now that you've wasted your life here, in this small corner, you've destroyed it everywhere in the world. The "City" is a summing up of the poet's life, starting with the desire for escape, for a journey, the last hope for a new beginning and ending with the realization that the journey is impossible because once a life has been ruined in one city it will be the same in any other. What separates him from society will not change from city to city.”

“He has the strength (and of course the limitations) of the recluse, who, though not afraid of the world, always stands at a slight angle to it.”

“He wrote consistently but almost never published through traditional means. There is nothing more detrimental to art, he maintained, than succumbing to “how the public thinks and what it likes and what it will buy.” … Whether Cavafy is describing an ancient political intrigue or an erotic encounter that occurred last week, his topic is the passage of time. … Earlier translators have, to varying degrees, rightly emphasized the prosaic flatness of Cavafy’s language; the flatness is crucial to the emotional power of the poems, since it prevents their irony from seeming caustic, their longing from seeming nostalgic.”

“The focal point of Greek-American cultural interest has definitely shifted in recent decades. Where formerly there was a somewhat affected and strained focus on classical Hellas, the contemporary awareness is much more in tune with the literature of modern Greece. This shift has almost been entirely due to the increasing availability of English translations of modern Greek writings, for not many American-born Greeks comfortably read novels or poetry in the original Greek. The beginnings of the new mood can be traced to the translations of the novels of Nikos Kazantzakis in the 1950s. These also stimulated interest in other Greek writers, notably the poets Constantine P. Cavafy, a product of the Greek diaspora in Alexandria, Egypt, and George Seferis, who won the Nobel literature prize in 1963.”

“He was a man who starts at a certain age with all signs showing that he's unable to produce anything of importance. And then, by refusing and refusing things which are offered him, in the end he finds, he sees, as they say; he becomes certain that he's found his own expression. It's a splendid example of a man who, through his refusals, finds his way.”